Page 1

“Now we are the masters of our fate. the task which has been set before us is not aboVE our strength.�

AT T I T U D E


ATTITUDE.


INTRODUCTION

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

002


003

A ANTHONY STIMOLA / MFA PORTFOLIO

PROJECTS

01

02

03

04

05

06

07

08

09


INTRODUCTION

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

004

“Now we are the masters of our fate. the task which has been set BEFORE us is not above our strength. That its pangs and toils are not beyond our endurance. As long as we have faith in our cause and an unconquerable will–power. Salvation will not be denied us. We are the masters of our fate. Long as we have faith, an unconquerable will–power. Salvation will not be denied us.”


005

A

— W IN S TON CHUR CHIL L

PROJECTS

01

02

03

04

05

06

07

08

09


IN T RODUCT ION  /  W HO I A M

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

006

WHO I AM.


007

A WHO I AM. I am a designer. I think. Sometimes I over think. I ask questions and I am constantly self-editing. I watch documentaries, T V shows and read about every random thing I can get my hands on as it all intrigues me—it all becomes part of my arsenal of knowledge and thought. I go to gallery events and conferences, or even just walk the streets of the city because my mind craves social interaction. I love talking, and most of all, inspiring a conversation and debate. I am from New Jersey and as a child I can remember dreaming of running away to Manhattan—even as a child I loved being in the middle of madness. It is a place where I thrive. I now realized it's my mind at work craving the challenge—to make sense out of the chaos around me. I am a designer. I grew up with a learning disability. After years of trying to fit a circle peg into a square hole, I have moved on, and have found my place in this world. My mind allows me to brainstorm in a flurry of thoughts, images and concepts with avid enthusiasm. I run loops and circles, touching corners of ideas most people avoid, only to come back and find the answer. I am non-linear. I spent years fighting my mind, but now I see my thought process as my greatest strength. Accepting who I am in my natural state has enabled my development as a designer and creative problem solver. My attitude is proactive and driven by positivity and enthusiasm. I am looking to the future with a great sense of eager devotion and a lifetime of learning from the innovators and creatives that cross my path. I am ready for the next challenge.

PROJECTS

01

02

03

04

05

06

07

08

09


INTRODUCTION

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

008

MY


009

PROCESS, MIND, ATTITUDE.

PROJECTS

01

02

03

04

05

06

07

08

09


IN T R O D U C T I O N  /  TA BL E O F C O N T E N T S

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

010

TABLE OF CONTENTS.


0 11

014

Dystopia.

040

Rolling Stone.

064

Trojan.

080

Oliver Stone.

100

The Many Faces.

122

Sure.

144

GQ.

162

Louboutin.

180

Urbanis / MFA Thesis

211

Acknowledgements

213

Colophon.

PROJECTS

01

02

03

04

05

06

07

08

09


INTRODUCTION

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

012


013

>

PROJECTS

01

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

014

“I Would put my money on the sun and solar energy.”


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

Various Sources*

015

01

—THOMA S EDISON

PROJECTS

01

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

016

Peak oil and the collapse of society.


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

01

Various Sources*

0 17

PROBLEM The problem was to create a conference that deals with the topic of Peak Oil and social collapse as a result of an infrastructure crash. Within the solution all the aspects of the conference were addressed including the location and speakers. The conference handouts included a double-sided poster with all the information needed for the attendees, including maps, schedule, places to stay, transportation, and daily information for the three-day conference. Questions to be addressed were: How will the conference look and function? How will location add to the conference experience? What is the best solution for a double-sided poster that would be the central source of information for attendees?

SOLUTION Part of the solution was to hold the conference in an environment that has experienced a natural or manufactured catastrophe, such as the North Cross area of New Orleans. The mood in New Orleans post-Katrina adds a fourth dimension by creating a physical manifestation of a hypothetical infrastructure failure. The attendees will move through the environment from location to location in order to attend talks with special speakers, film screenings, and round table meetings with panel discussions. The design solution uses a strong Swiss grid system, which builds out the printed collateral pieces. By using such a strong grid system, the mass of information needed to be laid out will be more effectively organized. The level of content organization and the grid structure emulates infrastructure collapse. The book’s content portrays the two possible responses that mankind will have in the midst of social collapse, chaos or community re-building. Mankind’s good and bad natures are broken down and explored in the large format book, which further impresses the importance of content and subject matter.

DELIVERABLES The deliverables consisted of one 11 x 17 book for conference attendees, two double-sided 24 x 36 posters, a mailer, and package of final reserve of oil.

PROJECTS

01

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

018


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

019

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

020


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

021

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

022


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

023

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

024


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

025

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

026


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

027

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

028


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

029

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

030


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

0 31

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

032


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

033

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

034


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

035

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

036


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

PROJECTS

Various Sources*

01

037

02

03

04

05

06

07

08

09


P E A K O I L   /   S P R I N G 2 0 11   /   A R I E L G R E Y

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

038


COURSE

Ty p o g r a p h i c H i e r a r c h y

PHOTOGRAPHY

Various Sources*

039

>

PROJECTS

01

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

040

“Fail, fail again, fail better.”


COURSE

Nature of Identity

PHOTOGRAPHY

Various Sources*

0 41

02

—SAMUEL BECKE T T

PROJECTS

01

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

042

The Catalyst for Cultural Change.


COURSE

Nature of Identity

PHOTOGRAPHY

02

Various Sources*

043

PROBLEM The problem was to define a brand that is dead, dying or defunct and re-imagine that brand to bring it back to life without diverting from the brands origins. Questions to be addressed were: How do you take a brand like Rolling Stone to a new level? How do you define them as dead, dying or defunct? What aspects of the brand are the building blocks for the new direction? What does this look like? How does it function?

SOLUTION The solution was to take Rolling Stones initial core brand purpose and edit the paragraph long statement down to a punchy mission statement. With that purpose in mind, define the trajectory into the future with the modern world. Perhaps Rolling Stone no longer resides as just a printed magazine and website, but can become reporting center for news, music, the arts and politics for the next generation as CNN is contemporarily. The generation that Rolling Stone caters to trusts and believes in digital news sources unlike their predecessors. Creating a brand that existed in both the digital and physical world. Rolling Stone becomes a media source and cultural source as well. Opening art gallery’s that function as community centers as well. Producing product lines of high-pigment spray paint and high-density ink markers for the outspoken generations to put their news updates on walls and canvas. Building a media source that is both functional and trust-worthy.

DELIVERABLES The deliverables consisted of a brand manual that laid out a brand structure and visual guideline, a business system, a website, and a phone application.

PROJECTS

01

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

044


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

046


Nature of Identity

PHOTOGRAPHY

Various Sources*

0 47

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

COURSE

PROJECTS

01

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

048


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

0 49

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

050


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

0 51

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

052


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

053

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

054


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

055

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

056


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

057

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

058


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

059

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

060


COURSE

Nature of Identity

PHOTOGRAPHY

PROJECTS

Various Sources*

01

0 61

02

03

04

05

06

07

08

09


R OL L ING S TONE  /  FA L L 2 010  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

062


COURSE

Nature of Identity

PHOTOGRAPHY

Various Sources*

063

>

PROJECTS

01

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

064

“Use a condom. Seriously, use one.”


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

Various Sources*

065

03

—JAMES VICTORE

PROJECTS

01

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

066

HOW WELL DO YOU REALLY KNOW HER?


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

03

Various Sources*

0 67

PROBLEM The problem was to create an advertising campaign to raise awareness for the continued use of condoms by sexually active young males in America. The ad campaign aims to gain the attention of the target audience in a different way then the usual overly blatant advertisement filled with false innuendos. The purpose of this campaign was to grab the target population in a new way while still taking into account the viewer’s attention span and intelligence. Questions to be addressed were: Who is the core audience of the campaign? What is the most effective way to gain the attention of that audience? How do you increase the retention of the content's message in the viewing audience?

SOLUTION The solution was targeting the audience at their most vulnerable spot — the male fantasy. The campaign uses an image style that at first glance speaks to the male population’s sexual goals — an empty condom wrapper on the nightstand, her toes wrapped around the edge of her underwear in anticipation of what will come next. The photo can also be interpreted as an image portrying what the woman wants through her anticipatory body language of physical intimacy. The idea was to use images that men respond to and want to look at. Adding short, simple and punchy copy that raises discomfort and concern. By juxtaposing the image and copy the ad creates a visceral response that would be hard to ignore. This will compound the message and instills a longer retention of the content.

DELIVERABLES Produced a brand manual that laid out a brand structure and visual guidelines, business system, a website and phone application.

PROJECTS

01

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

068


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

PROJECTS

Various Sources*

01

0 69

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

070


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

PROJECTS

Various Sources*

01

071

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

072


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

PROJECTS

Various Sources*

01

073

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

0 74


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

PROJECTS

Various Sources*

01

075

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

0 76


PROJECTS

01

02

03

04

05

06

07

08

09


T rojan   /   S P R I N G 2 0 1 2   /   R oland Y oung

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

078


COURSE

Adver tising and Copy Writing

PHOTOGRAPHY

Various Sources*

079

>

PROJECTS

01

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

080

“One of the greatest casualties of the war in Vietnam is the Great Society.”


COURSE

Integrated Communication

PHOTOGRAPHY

Various Sources*

081

04

—Martin Luther King, Jr.

PROJECTS

01

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

083

The films of oliver stone.


COURSE

Integrated Communication

PHOTOGRAPHY

04

Various Sources*

082

PROBLEM The problem was to find a common thread that runs through the films of the filmmaker Oliver Stone. The common thread was then built into a brand system for a mock film festival. The questions addressed were: What is the common thread? How can the common thread be made visually sewn through out the festival? What is the system to reflect? Where does this festival take place?

SOLUTION The common thread was identified in a term; friendly fire. (Friendly fire is inadvertent firing towards one's own or otherwise friendly forces while attempting to engage enemy forces, particularly when this results in injury or death.) Friendly fire exemplifies the spirit of Oliver Stones’ films, which captured the confusion of the time period, both at home and abroad. This was a time when there was changing and how the world was going to react to threats was unclear, subsequently there were a lot of accidental casualties that lay on both sides of the fence. America was changing. The look and feel of the film festival reflect the brand system created around friendly fire. The festival was to take place in three locations: New York, Washington DC and Ho Chi Minh City. Attendees received specially designed pieces that include plane tickets, schedules, maps of the area, tickets to each film as well as dog tags that served as their passes to the festival grounds and events.

DELIVERABLES The deliverables were a festival catalog book, a poster (20 x 40), a business system, take away pieces and products, a poster tube, full festival collateral (tickets, schedules etc.), advertisements, and DVD packaging.

PROJECTS

01

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

084


COURSE

Integrated Communication

PHOTOGRAPHY

PROJECTS

Various Sources*

01

085

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

086


PROJECTS

01

02

03

04

05

06

07

08

09

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

088


COURSE

Integrated Communication

PHOTOGRAPHY

PROJECTS

Various Sources*

01

089

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

090


COURSE

Integrated Communication

PHOTOGRAPHY

PROJECTS

Various Sources*

01

091

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

092


COURSE

Integrated Communication

PHOTOGRAPHY

PROJECTS

Various Sources*

01

093

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

HEAVEN & EARTH

BORN ON THE FOURTH OF JULY

PLATOON

featured films

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

0 94


PROJECTS

01

02

03

www.friendlyfire.com

HO CHI MINH CITY (Saigon) April 26th - 30th 2015

WASHINGTON D.C. Nov. 22nd - 26th 2014

MANHATTAN, NEW YORK Sept. 15th - 19th 2014

NIXON

JFK

095

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

096


COURSE

Integrated Communication

PHOTOGRAPHY

PROJECTS

Various Sources*

01

097

02

03

04

05

06

07

08

09


OL I V ER S TONE  /  FA L L 2 0 0 9  /  HUN T ER W IMMER

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

098


COURSE

Integrated Communication

PHOTOGRAPHY

Various Sources*

099

>

PROJECTS

01

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

10 0

“The city is WHAT it is because our citizens are what they are.”


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

Anthony Stimola

101

05

—PL ATO

PROJECTS

01

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

10 2

The faces of A CITY Through ARCHITECTURE.


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

05

Anthony Stimola

10 3

PROBLEM The problem was to document our life for thirty days and create a book that would reflect that story. The book was to contain original photography and content. Defining a part of my everyday life to depict without boring the audience was the central obstacle. The questions addressed were: What about my daily life was consistently interesting? What does someone see everyday that is worth telling a story about? How does my story reflect my experience in my life?

SOLUTION The solution was to embrace my life in San Francisco. It was my decision to take my daily experiences of living in the Tenderloin and tell a story about the ‘other’ side of San Francisco. The Tenderloin is not a neighborhood readily used to attracting people to San Francisco. I used the medium of photography to shoot the beautiful architecture of San Francisco while off setting the beauty with a dark and cynical story line. The direction of this project expanded out of the Tenderloin as the architecture of the city is so diverse that to single out one neighborhood was a limiting approach. Brian Altano, whose lyrical tone brought a rich dimension to the narrative, wrote the content of the book. The image style and word play come together to tell a story about the city that is frustrated with the over looked story. Having personally lived in an old Edwardian apartment on the corner of Hyde and Ellis I was infected with a cynical view of San Francisco, which Altano illustrated through the content. However, the beauty in the darkness and the untold story of the Tenderloin overshadowed my cynical view.

DELIVERABLES The final piece was a book (9.25 x 12.25) depicting my life in thirty days in San Francisco.

PROJECTS

01

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

10 4


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

10 5

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

10 6


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

10 7

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

10 8


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

10 9

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

11 0


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

111

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

11 2


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

11 3

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

11 4


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

11 5

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

11 6


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

PROJECTS

Anthony Stimola

01

11 7

02

03

04

05

06

07

08

09


T HE M A N Y FA C E S  /  FA L L 2 0 0 9  /  S TA N Z IE NK A

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

11 8


COURSE

E x p e r i m e n t a l Ty p o g r a p h y

PHOTOGRAPHY

Anthony Stimola

11 9

>

PROJECTS

01

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

12 0

“If you can’t solve a problem, it’s because you Are playing by the rules.”


COURSE

Design Outside the Box

IL LU S T R AT I O N S

Anthony Stimola

12 1

06

—PAUL ARDEN

PROJECTS

01

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

12 3

EASY ANSWERS THROUGH CHEMISTRY.


COURSE

Design Outside the Box

IL LU S T R AT I O N S

06

Anthony Stimola

12 2

PROBLEM The problem was to create a visual image representing how our nation has become infatuated with quick and easy answers. In addition, our nation has become use to the idea that a pill or a surgery can fix any problem, repairing the surface problems and ignoring the core issue. The solution has become as simple as saying sure . Sure is the lazy man’s response, it is just easier to say sure, than to think about a more definite answer. The questions addressed were: How do I portray the issue with out being contrived? Is it wrong to be contrived when dealing with such a topic? How do I show the audience the issue though both content as well as concept?

SOLUTION The solution for this was to emulate sure into a brand of pharmaceuticals that point out the many quick fixes our nation turns to and build an awareness campaign through eye—catching packaging. The visual language was to be simple and clean as to let the concept reign supreme with out being diluted. The forth-coming approach was to avoid being contrived while poking fun at the issue but still addressing the serious issue of depending on the pharmaceutical industry fix to every problem. Each product lives on its own, so while one person may laugh at someone else’s issue they are forced to swallow the pill when it comes to their own. The products and packaging were to part of a branded system, but each stood strongly as an individual. To see the packaging of the product was to see the irony in the problem. Promotional posters were made for each product and could be hung in a doctor’s office to proudly advertise the easy answer. What better way then to advertise from the inside?

DELIVERABLES The deliverables were a product line for a fictitious pharmaceutical brand, which consisted of five products that include packaging and (24 x36) posters.

PROJECTS

01

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

12 4


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

12 5

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

12 6


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

12 7

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

12 8


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

12 9

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

13 0


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

02

131

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

13 2


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

13 3

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

13 4


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

13 5

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

13 6


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

13 7

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

13 8


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

13 9

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

14 0


COURSE

Design Outside the Box

IL LU S T R AT I O N S

PROJECTS

Anthony Stimola

01

1 41

02

03

04

05

06

07

08

09


S U R E   /   F A L L 2 0 11   /   R O L A N D Y O U N G

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

14 2


COURSE

Design Outside the Box

IL LU S T R AT I O N S

Anthony Stimola

14 3

>

PROJECTS

01

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

14 4

“Open your eyes and find beauty where you normally don’t expect.”


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

Various Sources*

14 5

07

—JE AN PAUL GAULTIER

PROJECTS

01

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

14 6

Fashion at your finger tips.


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

07

Various Sources*

147

PROBLEM The problem was to create an animated demo for an iPad magazine. The magazine chosen was GQ and the piece showcased the advantages of the new format. To solve I had to look at the printed magazine and find the right execution for the project while maintaining the brand’s guidelines and bringing a fresh look to the interactive qualities. The questions addressed were: How do I make a static two-dimensional piece become an interactive piece with the illusion of a third dimension? What is the best way to bring GQ into iPad format? Can the integrity of the original piece be kept while changing its platform?

SOLUTION The solution was to keep true to the brand values and structure. This was a great opportunity to take photo spreads and turn them into interactive infographics. Turning the articles into interactive storyboards that can carry the viewer further into the story’s details or allow them to skim through the piece. By taking a collection of images all dealing with a set topic, a large image collage was created for an animated camera to run through. The animated camera adds a dynamic quality to each piece by allowing the viewer to fly through an image based environment rather than just seeing flat images. This works well for a fashion magazine like GQ as the majority of the readers want to see the images and get an idea of the fashion trends. Giving hot spots for the viewer to hit or by integrating animated content the viewer can choose how much written content to dive into.

DELIVERABLES The deliverable was a demo of the animated iPad magazine. Providing a quick walk through the intended interactive space, while giving the viewer an idea of the end products look and feel.

PROJECTS

01

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

14 8


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

PROJECTS

Various Sources*

01

149

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

15 0


CO U R S E C

I n ttrroo ttoo MMoot itoi o n nG rGarpahpi hc si c s

OG GR A P H Y PPHHOOTTO

PROJECTS

V a r i oo uuss SSoouurrcceess**

01

0 2 01

03 02

0 50 16 1

04 03

05 04

06 05

07 06

08 07

09 08

10 0 9


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

15 2


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

PROJECTS

Various Sources*

01

15 3

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

15 4

± 0 0:18 .1

± 0 0:10 .7 ± 0 0: 3 2 . 0

± 0 0: 2 7. 2


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

Various Sources*

15 5

± 0 0: 4 3 . 2 ± 0 0: 3 4 . 5

± 0 0:67. 5 ± 0 0: 49. 5

PROJECTS

01

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

15 6


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

PROJECTS

Various Sources*

01

15 7

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

15 8


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

PROJECTS

Various Sources*

01

15 9

02

03

04

05

06

07

08

09


G Q   /   S P R I N G 2 0 1 2   /   C olin S ebestyen

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

16 0


COURSE

Intro to Motion Graphics

PHOTOGRAPHY

Various Sources*

1 61

>

PROJECTS

01

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

16 2

“I like to see the human touch...it’s the impracticality that I adore.”


COURSE

Packaged Design 3

PHOTOGRAPHY

Various Sources*

16 3

08

—CHRISTIAN LOUBOUTIN

PROJECTS

01

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

16 4

HIGH end home furnishings.


COURSE

Packaged Design 3

PHOTOGRAPHY

08

Various Sources*

16 5

PROBLEM Take a well known and, more importantly, established brand and bring them into a new market place. The market place must be one that the brand has not tried to enter already, but it must also make sense for the brand to move into that market. There are two optional market places to look at: Home Furnishings or Garden Tools. The brand chosen was Louboutin and the market place was home furnishings. The questions addressed were: What is the best approach to bring a brand into a new market place? What are the best products to utilize? Can the current product line be the key holder to the solution?

SOLUTION First, by looking at the existing brand and products of Louboutin, decipher the brand identity it has created. After studying Louboutin shoes, one can see the soft juxtaposed with edgy, aggressive, and strong colors and materials. Ultimately, the current brand identity was used as a guide for products in the home furnishing industry. Louboutin’s product had all the assets needed in order to create the packaging system that would marry the existing brand with the new products in the new market place. The unifying visual elements were found in the form and curves of the shoes. Abstracting the bottom of the shoe created the red shape that stretches across the front and back of the package system. The shape also reflects the flow and curves of the female form. Both the products chosen as well as the photography style was all done to further drive home the curves and the fluid motion that embodies the female form.

DELIVERABLES The deliverables consisted of a five piece packaging system, for a series of products.

PROJECTS

01

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

16 6


COURSE

Packaged Design 3

PHOTOGRAPHY

PROJECTS

Various Sources*

01

167

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

16 8


COURSE

Packaged Design 3

PHOTOGRAPHY

PROJECTS

Various Sources*

01

169

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

17 0


COURSE

Packaged Design 3

PHOTOGRAPHY

PROJECTS

Various Sources*

01

17 1

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

17 2


COURSE

Packaged Design 3

PHOTOGRAPHY

PROJECTS

Various Sources*

01

17 3

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

174


COURSE

Packaged Design 3

PHOTOGRAPHY

PROJECTS

Various Sources*

01

17 5

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

176


COURSE

Packaged Design 3

PHOTOGRAPHY

PROJECTS

Various Sources*

01

17 7

02

03

04

05

06

07

08

09


L O U B O U T I N   /   S U M M E R 2 0 11   /   T om M c N ulty

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

17 8


COURSE

Packaged Design 3

PHOTOGRAPHY

Various Sources*

17 9

>

PROJECTS

01

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

18 0


COURSE

MFA T hesis

PHOTOGRAPHY

Various Sources*

181

09

MFA—THESIS PROJECT We are given the oppor tunity to produce a graduate thesis project that makes a significant contribution to the world of design. This project is what defines an MFA from a BFA.

PROJECTS

01

02

03

04

05

06

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09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

18 2

“Be the change you wish to see in the world.”


COURSE

MFA T hesis

PHOTOGRAPHY

Various Sources*

18 3

09

—MAHATMA GANDHI

PROJECTS

01

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

18 4

AGRICULTURE FOR URBAN DWELLERS.


COURSE

MFA T hesis

PHOTOGRAPHY

09

Various Sources*

18 5

PROBLEM The problem was that the current marketplace for urban agriculture lacks a brand that addresses all aspects of agriculture for the urban environments. Define the void and fulfill the needs.

SOLUTION The solution was to build a brand that fills that void in the marketplace and represents a brand that is equally applicable to individual, joint and community gardens, and farms. Urbanis’ objective includes facilitating the expansion of gardens to include a more permaculture approach by structuring the garden as a more natural ecosystem. This includes a range from a simple rooftop garden to the more complex community farm. We provide the tools for every need. Urbanis is utilitarian in its purpose and also creates a platform for replicating America’s historical effort to encourage urban gardens in the form of victory gardens. This type of growth is not monetary but is more important as it is growth in the integrity of our country. As a brand, Urbanis is a resource for establishing any size garden or urban farm. Urbanis is a comprehensive product line for the market place which includes gardens, animal husbandry and apiculture (bee keeping), while providing resources for working through applicable laws, codes and regulations. Urbanis is a base from which its users may build. Urbanis is not just another single purpose brand. Urbanis recognizes users are embarking on a new venture and in many cases it is uncharted territory.

DELIVERABLES The deliverable was a full brand manual and brand guideline. As well as a website that would be used as an information resource, as well as a location to keep up with going trends through a blog roll of articles. A packaging and product line was also constructed that allows for future growth.

PROJECTS

01

02

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09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

18 6


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

18 7

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

18 8


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

18 9

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

19 0


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

191

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

19 2


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

19 3

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

194


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

19 5

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

196

TO PROVIDE THE TOOLS FOR GROWTH IN VIBRANT CITY CENTERS.


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

19 7

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

19 8


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

19 9

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

200


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

201

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

202


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

203

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

204


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

205

02

03

04

05

06

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

206


COURSE

MFA T hesis

PHOTOGRAPHY

Various Sources*

207

Home

Articles

Article 1

Article 2

Resources

Article 3

Animal Husband.

Pacific N.West

Chickens & Fowl

Goats

Rabbits

Ducks

Blog

Gardening & Agri.

Apiculture (Bees)

Laws & Regs.

Planting Guide

Soil Health

Soil Type & Text.

S.West

Species

N. Central

Hive Structure

Midwest

Water Guide

S. Interior

Other Resources

Mid Atlantic

Laws & Regs.

Honey Production Pollination

PROJECTS

New England

01

02

03

Legal Resources

04

05

Legal Forms

06

Other Resources

07

08

09


U R B A N I S  /  FA L L 2 012  /  P H I L H A M L E T T

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

208


COURSE

MFA T hesis

PHOTOGRAPHY

PROJECTS

Various Sources*

01

209

02

03

04

05

06

07

08

09


N O T E S   /   A C K N O W L E D G E M E N T S 

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

210

NOTES.


2 11

ACKNOWLEDGMENTS First and foremost I would like to give a very special thank you to everyone that I have worked with over the past few years at the Academy of Art University. The past few years have been a long hard process but have more importantly been an incredible learning process. I can honestly say I am not only coming out of the program as a better designer, but also a better person. The program has been one of the hardest and the most fulfilling learning experiences of my life. To my professors, mentors and Academy of Art University team — thank you. Thank you to Mary Scott for driving the best product out of me while still letting me find my own way, Phil Hamlett for pushing me to think, Hunter Wimmer for the guidance over the years and for daring me to Drop the Jersey, Roland Young for pushing my buttons and making me crazy only to laugh at me and tell me to trust myself, Thomas Mc Nulty for the Saturday morning phone critiques and making me take on a project that was not the obvious choice, Carl Bender for the great conversations and insight into the thesis process, Carleigh Kude for helping me stay the course, and Stan Zienka and Brendan Callahan for showing me to follow my creative intuition. Thanks to the friends and family that have been there to help me along the way; my mother and father for their moral support and never letting me take the easy way out, Sophie Topolsky for standing by through it all, for genuinely believing in me and for showing me I am worth more than I give myself credit — you’re a sweet kid. Reggie for being my copy writer and giving me a home away from home, Christopher Jaskot for the inspiration to do me and the endless support, Brian Altano for the constant encouragement and letting me come over to do work to get out of the TL, Johnny and Rachel Selman for pushing my buttons and asking the right questions, to Christian Ames and Ariana Vodra for being my family from the beginning, Alex Miranda for inspiring me to be a better designer and to trust myself, Zainab Rupawalla for teaching me that you never know where a friendship can be born, D.D. Cheung for helping photograph my work, Kelly Wahlstrom Team Wayfind for letting us take over her garage, Andrew Moran for photographing my work over the years and taking my head shot, Richard Hansen for introducing me to Otl Aicher at the perfect time and providing me the inspiration to start from scratch because it was the right thing to do. Also thanks to: Darshita Mistry, Mike Anderson, Alex Cornell, Jasmine Friedl, Tessa Fish, Astra Sodarsono, Erin Canoy, Dara Weinberg, Katie Rumford, Whitney Clark, Carey Ordway, Penny Lorber, Cameron Ewing, Scott Suiter, and the graduating class of Fall 2012.

PROJECTS

01

02

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04

05

06

07

08

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N O T E S   /   A C K N O W L E D G E M E N T S 

A N T H O N Y  S T IM O L A  /  MFA P O R T F O L I O  /  AT T I T U D E

2 12

NOTES.


213

COLOPHON

COLOPHON

School

Academy of Art University, School of Graphic Design

Course

Portfolio Seminar / Grad

Instructor Student Telephone Address e-mail

Mary Scott Anthony Stimola +1 201 638 3805 2130 Fell Street (apt 11) / San Francisco, CA 94117 anthony.stimola@gmail.com

Website

www.anthonystimola.com

Bindery

The Key Printing and Binding 5851 Ocean View Drive / Oakland, CA 94618

Photography

DD Cheung, Whitney Clark, Anthony Stimola, Dara Weinberg, Kelly Wahlstrom, Andrew Moran

Title of Book Text Stock

Attitude 100 lbs. Cougar Text Paper

Typeface

DIN

Software

Adobe Creative Suite 6 Š2012 All rights reserved. No part of this publication can be reproduced without express permission from Anthony Stimola.

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ATTITUDE  

Academy of Art Univeristy // MFA Portfolio

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